Image Cindy Meurie / Concept Edith Doove
Tomorrow opens Bureau Doove’s first major exhibition in France. ENSEMBLE is a selection of the work of graduates from four schools for art, architecture and design in Normandy: ésam Caen, ESADHaR Le Havre/Rouen and École nationale supérieure d’atchitecture de Normandie. It’s the first time that the schools present their graduates together.
Edith Doove was invited to make a selection and present this in the majestic abbatial church of Saint-Ouen. She developed a specific scenography with a large 25 meter long plinth at the heart of the exhibition to showcase maquettes by the architecture graduates. Around this symbolic ‘table’ works of about 50 graduates are shown on and around the exhibition walls. For the repainting of these walls in a stone colour that moves away from the classic white box Doove succeeded in obtaining a sponsorship by Sikkens France.
With Pierre Amelin, Julien Amkadou, Cassandre Barbotin, Léo Barranco, Joseph Baudart, Alzéda Bedel, Blanche Bertrand, Émilien Blanchard, Guillaume Capron, Roxanne Chaussalet, Paul de Cathelineau, Charlotte Delval, Marianne Dupain, Camille Fesq, Sophie Gaudillat, Herveline Geffrault, Maria Giovanni, Victor Gogly, Flore Gueudeville, Clara Guilbert, Juliette Guiot, Victor Hamonic, Nine Hauchard, izypt + enora tuauden bource, Cédric Jacquemin, Camille Jamelin, Naïl Jebbour, Marie Kerou, Dejing Kong, Cloé L’Ahelec, Solène Langlais, Corentin Leboucher, Marine Lemaire, Paul Lepetit, Thomas Maestro, Martin Mallet, Arthur Marie, Héloïse Marie, Sonia Martins Mateus, Morgan Menu, Estelle Pabryk, Ragib Paul, Marilou Pérez, Xavier Poirier, Alexandre Sarg, Monthicha Teonugul, Paul-Émile Ratel, Clément Rey, Anne Sarah Sanchez, Marina Vaganova, Elsa Valentin, Adèle Vallet, Raphaël Vandon, Jessica Visage, Ting-Chia Wu.
The high quality multidisciplaniry exhibition runs from 24 October until 15 december at Abbatiale Saint-Ouen, Place du Général de Gaulle, Rouen (entry via the gardens at the right side).
Opening Thursday 24 October from 6pm.
Open on Tues – Sun 10-12am and 2-5pm.
Find more information and an illustrated press file in French here.
More pictures to follow in the upcoming days.
Disrupted Sensations’ – composition of 16 lightboxes with Sensorial Skins and Scanning Electron Micrographs (120cm x 120cm);
‘L’origine du Monde’ – objects in transformation, organic materials (boxes, 15cm x 15cm x 15cm)
AnneMarie Maes shows her installation Sensorial Skin at the Centre Wallonie Bruxelles|Paris.
Sensorial Skin is a bio-art installation focusing on the tactility of organic materials, visually appealing natural colors and subtle fragrances, in which the different components combine to make the work an experience to be apprehended on several levels. It is is a question of microbiology, a world in which microorganisms establish mutualistic or parasitic relations between themselves to create and weave structures or to decompose materials.
From 16/10 to 3/12 2019 at the Centre Wallonie Bruxelles | Paris
Vernissage 16/10/2019 at 6:30 PM
Curated by Stéphanie Pécourt and Sara Anedda as part of the program: Le 46 Digital
Salle du foyer – 46 rue Quincampoix – 75004 Paris
Sara Bomans participates in yet another great show. As part of the parallel program of SCREEN IT, the three-annual city exhibition at Hasselt and Genk, she’s presented in Screening a Collection – 54 solo exhibitions and 1 group show at F.O.M.A.
For SCREEN IT, Luc Theuwis and Lieve Hardy literally scanned their private collection and brought them together in a video. In addition to a group show, every day one work takes a central place. In 54 days, you get 54 artists, 54 artworks and therefore 54 solo exhibitions. Follow their website for more information about the screenings, concerts and performances during the festival.
‘I used to be sexy 5’ 2018 hair drawing / paraffin paper 26,5x32cm
This Saturday 28 September the group show of the finalists of the Luxembourg Art Prize opens at the Pinacothèque. Very proud that our own Sara Bomans is one of the 11 finalists nominated for the Prize for which this hair drawing was selected. The laureate will be announced during the opening reception so fingers crossed for Sara this Saturday around 7.30pm.
Opening 28 September, 6pm – 9pm
7 rue Michel Rodange, L-2430 Luxembourg
28 September – 14 December 2019
More info here
Some combined news on exhibitions and presentations in the upcoming two weeks.
On Saturday evening 28 September the organisation (n) of Dominique Leroy and Marina Pirot presents Champs d’écoutes / Fields of Listening. Listening experiences proposed by Antoine Freychet, Dominique Leroy and Marina Pirot are realised on the basis of audio captations, plunges into the worked fields of the market gardening site. This is followed by a presentation of “Fordlandia“, the sound piece by Florence Jou and Dominique Leroy that was published earlier this year and that takes us to the Amazone, the banks of the Rio Tapajos, the hevea and the utopias of Henry Ford…
From 19pm at Site de maraîchage à Bouguenais les Couëts : “L’Escarbote” et “Les 2 feuilles” at 49 ter rue Jules Vallès , chemin du clos de la Fontaine – 44340 Bouguenais, France.
AnneMarie Maes shows here ongoing research as part of the group exhibition Seeing together: a synopsis which celebrates the LABORATORIUM/Color biolab and its four years of investigating the color field, offering a transdisciplinary approach to both art and science, in collaboration with María Boto Ordóñez and Kristel Peters. Other participating artists are Peter Beyls, Tim Theo Deceuninck, Sina Hensel, Elias Heuninck, Jerry Galle, Vanessa Müller, Pepa Ivanova and Zeger Reyers with curators Alice Lefebvre and Bert Puype.
The exhibition runs until 6 October at KASK & CONSERVATORIUM School of Arts Gent, Belgium. Opening hours mon-fri 2 – 6pm / sat-sun 11am – 6pm
More info here
As part of Archetypal Constellations – Workshops for the Future Anna Walker runs “Time-Travel, Magic and the Archetypes – A Taster Workshop for the Curious” with Vicky Lenton.
The archetypes of the 22 Major Arcana are invited into the space, to channel their wisdom and reveal the hidden patterns that keep us trapped in the repetitive cycles of our past. In a fun and meaningful way, we will discover the hidden power within us and harness the tarot’s historical mysticism to manifest a future full of creativity and love. Together, we will create new ways of being in the world, accessing the collective wisdom to develop methods of holding, embodying and embracing all of who we are.
Carl Jung believed that divination systems such as the Tarot descended from the archetypes of transformation. He coined the term ‘synchronicity’ to indicate simultaneous happenings of meaningful but not causally, connected events. Everything is linked with everything else, like a giant living web. The Tarot when used as a symbolic tool takes the seeker beneath the surface to mirror the ‘constellations’ or patterns that are affecting her/his life. In this 2-day workshop we will be exploring the power of this resonance.
Saturday 28 and Sunday 29 September from 10.30am – 5pm at
More info here
On Friday 4 October Anna will also be screening three of her films ‘Six Fragments’ (2015-17), ‘Remembering’ (2016-17) and ‘Breathe into me’ (2019) at B.L. Foundation, 16 Lancaster Grove, London NW3 4PB, from 6.30 – 9pm with screening starting promptly at 7pm. Places are again limited – RSVP – Email: email@example.com Tel: 07981 888039
Very honoured to be part of the Dust & Shadow Reader #2 by FOaM dedicated to the theme of Attunement. I contributed with a text on the inframince, an ungoing interest of mine and the basis of my doctoral research.
The publication will officially be launched at the Hayden Library in Tempe, 300 East Orange Street, AZ during the Acoustic Ecology Salon on 23 September, where you can also pick up printed copies of the reader:
https://fo.am/events/attunement-desert/ (4-5:30pm pre-launch event)
At the opening event of the Desert Humanities Initiative, FoAM and Timothy Morton discuss what it means to attune to the desert landscape. What does the desert ask of us and how might it change how we dwell?
The Dust & Shadow reader #2 is a commonplace booklet exploring attunement as a proposition for engaging with the world, Earth-bound environments and their inhabitants, in a continuously changing field of relationships.
The motley collection of textual and visual excerpts in this reader offers glimpses of attunement from different perspectives, including ecological, technological, animist, transhumanist, artistic, scientific and philosophical points of view. The various perspectives present in the reader suggest a range of different ways of attuning to the wider (and wider-than-human) world. Some are intimate accounts of personal experiences, others present a more theoretical inclination. Some offer imaginative prompts, others concrete exercises. The reader hints at attunement as a way to mitigate the effects of environmental and cultural turbulence. It also invites us to experiment with attunement to reinvigorate our relationships with an uncertain present and unknowable futures.
With contributions from Ron Broglio, Edith Doove, Daniel Gilfillan, Erica Hanson, Cat Jones, Theun Karelse, Kevin McHugh & Scott Warren, Sam Nightingale, Adam Nocek, Anna-Maria Orru & Morten Søndergard, Jerneja Rebernak and others.
All images from the Reader.
Since 4 September Bureau Doove has moved to Rouen, France to concentrate on new exciting perspectives about which more later. In the meantime Jean-Louis Vincendeau was inspired by the move to create a short illustrated text which you can find both in the original French version as the translated one below. To be continued.
Le bureau est vide, l’occupant était une occupante : on dirait bien qu’elle est partie précipitamment. Frémissement de lumière sur la pointe des pieds.
Un sinologue de passage révèle la calligraphie du papier peint en équations divinatoires qui viennent d’un ailleurs incertain.
Les teintes Tiepolo atmosphériques et soyeuses, fugues flutées, « a strand », une fibre ; nulle part tapis gris, au début du jour vers une immortelle transparence.
The office is empty, the occupant was female: it looks like she left hastily. Light trembling on tiptoes.
A passing sinologist reveals the calligraphy of the wallpaper in divinatory equations that come from an uncertain elsewhere.
The atmospheric and silky Tiepolo shades, fluted fugues, “a strand”, a fiber; nowhere grey carpet, early in the day towards immortal transparency.
Détour par la Chine ; que ce dernier objet trouvé sur place soit un éveil au plus infime déplacement. Déplacements puis repositionnements comme l’illustrent les fameux hexagrammes (six traits continus, le Ciel ; six traits brisés, la Terre). On existe dans une transformation, une modification, une régulation qui n’en finissent pas d’avoir lieu. Nous n’avons plus affaire à une causalité, et encore moins à un commandement quelconque. Dans le Tao, la « Voie », avec ses deux polarités yin et yang (capacité réceptive, capacité initiatrice), tout devient fonctionnement incessant « yong» qui n’a pas besoin de parler car « le Ciel ne parle pas ».
Le « Lotus bleu » se présente comme souvenir de lecture : une géographie mentale vient s’insinuer en douce ici dans cet espace laissé vacant.
Detour by China; let this last object found on the spot be an awakening to the smallest move. Displacements, then repositions as illustrated by the famous hexagrams (six continuous strokes, Heaven; six broken strokes, Earth). We exist in a transformation, a modification, a regulation that never ends to take place. We are no longer dealing with causality, let alone with some command. In the Tao, the “Way”, with its two polarities yin and yang (receptive capacity, initiatory capacity), everything becomes incessant functioning “yong” that does not need to speak because “Heaven does not speak”.
The “Blue Lotus” presents itself as a memory of reading: a mental geography softly sneaks in this space left vacant.
Sur la table rouge une balle de tennis oubliée, tendue comme un chant de résistance ; la balle touche à peine la table indifférente, apparue ici, rouge en souvenir de James Lee Byars. Son esprit plane maintenant dans cette chambre vide, de détail en détail il repousse les limites de ce qu’on appelle l’intensité, de ce qu’on nomme la perfection.
Lorsqu’il était encore de ce monde la lumière émanait de son corps et se concentrait parfois dans sa pupille pour produire finalement un sourire infra mince. Il recueillait dans le réceptacle de son esprit les plus anciennes traditions, à la fois voyant, poète et mémoire de son univers.
Dans le prolongement de ce songe et de cette évocation voici des images à venir, polies dans la tête et le cœur et qui ne demandent qu’à percer, à égratigner le regard qui surgit dans son abrupte étrangeté. Source de beauté dans son espace propre, accomplissement qui advient, présence, possibilité construite d’un espace mental pointu, particulier, très particulier.
On the red table a forgotten tennis ball, in place like a song of resistance; the ball barely touches the indifferent table, which appeared here, red in memory of James Lee Byars. His spirit is now hovering in this empty chamber, from detail to detail he pushes the boundaries of what is called intensity, of what is called perfection.
When he was still from this world the light emanated from his body and sometimes concentrated in his pupil to finally produce an infra thin smile. He collected in the receptacle of his mind the oldest traditions, both seer, poet and memory of his universe.
In the continuation of this dream and this evocation here are images to come, polished in the head and heart, and which only ask to pierce, to scratch the gaze that emerges in its abrupt strangeness. Source of beauty in its own space, accomplishment that occurs, presence, possibility built of a sharp, particular, very particular mental space.
Very glad I managed to read and review Jane Blocker’s Becoming Past on contemporary art history as it is in more than one respect very symbolic in view of my own research as well as my upcoming job and subsequent move. “Rich, irritating and to be played with” as I conclude this review – you can read it here.
As part of ‘The films of Jean-Louis’, an ongoing collaboration between Jean-Louis Vincendeau and Ollivier Moreels, recently a collaboration with Romaric Sobac was set up to film ‘L’homme rouge/The Red Man’. Text by Jean-Louis Vincendeau and images by Ollivier Moreels (featured image by Jean-Louis Vincendeau). See more here.
You read flyers, catalogues, posters that sing aloud.
Apollinaire, “Zone”, Alcools, 1913
The red man supporting Bayern Munich is there, he picks up and organises some dented objects while letting his thoughts wander.
Premises of something never named, barefoot he quickly reflects with his ‘bric and brac’, and sends logic and aesthetics running into the gutter, further down.
He is concentrated with detached; immediately shredding his leaflets and newspapers for an unlikely audience not necessarily expected.
Fetuses of plasticized twigs like scared muzzles, lost in their little world; and plaster that rustles flaking, hesitant, poor.
Romaric Sobac develops the art of curating, of aggregating improbable objects according to forces to be found outside and within the desire of the moment.
Clumsily but determined he builds small scaffoldings on the edge of the void; standing lying in awakening of balance, irony, devastation, thin towers of Pisa not always inclined.
His hands plunge into bumpy dreams; violence, tenderness, on the concrete a stumbling doubt can, by his gesture, settle down.
Here, in the hangar “Transports de la Brière”, an implicit slogan not yet tagged, “Walls could talk”. Located in Penhoët, just behind the basin, this suite of warehouses was used as a garage for buses intended for workers in the Chantiers de l’Atlantique. This place abandoned for years is planned to house the old boats of Les Vieux Gréements.
Exciting times coming up for Bureau Doove about which more soon. In the meantime some news about two of the artists that we support.
Anna Walker will be take part in RE:SOUND, the 8th International Conference on the Histories of Media Arts 2019 – Aalborg, Denmark from this coming Tuesday. RE:SOUND is part of the Media Arts Histories conference series, bringing together leading researchers, artists, and scientists on a series of interdisciplinary topics for over 14 years.
The RE:SOUND conference will take a specific interest on the theories, practices, histories, etc., of art and technology which are focusing on, concerned with, reflecting on, including, mobilising and/or working with sound as a main component or an integral part.
Anna Walkers’ arts-practice balances the auto ethnographic with the critical, utilising personal experiences to facilitate a greater understanding of memory, trauma and its wider cultural implications. She has been exploring trauma in her work for many years, how the body responds to overwhelming traumatic and stressful situations and how it reorganises itself to cope with or manage the trauma. Most recently research has focused on intergenerational trauma, i.e. what gets passed down from generation to generation. For example, the moving Image work: ‘Breathe Wind into Me, Chapter 1’ (2018-2019), exhibited as part of Making Space at Fabrica Gallery, Brighton, is a loosely, flowing, stream of consciousness that questions what arises physically and philosophically when life is stripped back to the bare essentials. She is a contributing researcher of Transtechnology Research at Plymouth University.
At RE:SOUND she will present a paper, ‘Locating the Sound of Trauma in me’ as part of Track 6 – Session 6.2 Sound, Bodies and the Life-world II, and will also contribute to the accompanying exhibition.
RE:SOUND takes place from Tuesday 20 – Friday 23 August at several venues in Aalborg, Denmark. The conference is opened on Monday evening with a Leonardo talk by Nina Czegledy. Find more info here.
Sara Bomans has recently experimented with new forms of expression, in particular the use of colour and small formats. She also loves to collaborate with other artists and was therefore invited by Pascal Courcelles to take part in his solo exhibition at Chateau de Petit-Leez at Grand-Leez, Belgium. Sara is showing a selection of her new work as well as her collaborative work with Pascal Courcelles.
The exhibition can still be seen at Chateau de Petit-Leez at Grand-Leez, Belgium until 8 September, open Friday, Saturday and Sunday from 10am – 6pm or by appointment. More info here.